Andy Leung is an English ambient-electronics creator.
With numerous tracks behind him, each offering different perspectives and sound shapes, his music is best taken in large quaffs whilst resting limbs in the waves of luscious texture.
The latest track to surface is found in the tranquillity of the just under five and a quarter minutes number entitled – LIGHTS – which ideally suits the chill-out room at an extended weekend rave.
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Fatal Nostalgia is an ambient-electronica project from Massachusetts in the USA.
Fatal Nostalgia – ambient-electronica from the USA
Those with a closer eye to detail will notice I did reference a different project a few days ago by one and the same person – Cyberwave and as mentioned in that article Fatal Nostalgia is the more current thread of focus.
Again, with numerous releases this time dating back to 2012 (all available on bandcamp), Fatal Nostalgia offers plenty to hear while relaxing in a warming saline bath. The music flows around the head massaging the cranium and gradually the synapses, breathing and heart rate decelerate to the pace of the whooshes of unhurried euphonious compositions that thread through the room.
Whilst the tracks are extended variations on a theme there is nothing self-indulgent and the listener finds themselves wishing phrases were extended further as Fatal Nostalgia reveals music that has the attraction and mesmerising qualities of multi-coloured fractals spinning in the breeze.
A very difficult set of schematics to generate something new from time after time, yet Fatal Nostalgia is able to generate original compositions which follow the flow chart and thus far there have been over thirty pieces extending to in excess of two hours of material.
From the five track EP Quietus – the second Elysium.
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In Vivid is the ambient-electronics vehicle for Benjamin Snook from Lawrence, Kansas in the USA.
There is an easy flow to the sounds that filter across the room as the subdued electronics fill the spaces with layer upon layer of reflectivity. In Vivid utilises vocoders to give the scant voices a spectral figurative, which suits well with the elemental nature of the sounds, which in itself is a surprise as all the soundscapes are electronically created.
It is through the softer tonality of analogue synthetics that In Vivid is able to produce music which has you leaning back as though inside a floating chamber in to which the striking postulations can and do add moments of jarring of panic, affording the material a sense of impending disquiet.
It has taken me some little while to get round to writing this article as Benjamin and I have been exchanging emails of different conversation – me asking for a social media page or website for In Vivid and he continually replying it is his work alone as a solo performer. Those who have exchanged conversations with me know that once I have replied to something I delete it and somehow we ended up with a disparate thread as my question remained unanswered as far as I was concerned, but had been replied to else where – somehow this minds of the music, which weaves incongruous ideas into a warming melt of sound.
My apologies to both you and Benjamin that this has taken so long – but now is the time to draught large quaffs of the ambient-electronica that is In Vivid.
There is no social media page or In Vivid website.
Resplendent is available on bandcamp.
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O is the electro-ambient quintet of Levi, Kay, Jan, Ben and Yves who are divided between Germany, The Netherlands and Belgium.
Wait until dusk or draw the curtains before taking a delve into O. The music trickles into the room like an emergent stream source on a peat bog, clear though almost indiscernible, yet to gather the momentum to form a raging river feeding the oceans and as you allow the music to develop in the ears so the immensity of this sound becomes apparent.
O ask nothing more of you than to approach the music with an open mind and time to spare whilst allowing yourself the space and setting to let the quintet do their thing, providing a mythical journey of sound and thinking for the brain. It is the fragility of the threads of compositions which the players have mastered to provide the listener with an ever evolving shape-shifting experience of discovery, that marks this out for recommendation.
The releases all attest to the organic fluidity of the creativity and the out-put is best listened to in an isolated contemplative space to allow the music to wash unhindered around the mind.
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Nheap is the vehicle for the Assisi, Italy based Massimo Discepoli to deliver his experimental ambience.
Like flexible sheets of thin silicone the music slides effortlessly around the room piling one atop the other to form a jelly-like entrapment. Combining acoustic, guitars, electric instruments, drums, keys and electronic sounds Nheap has the ability to fuse much into a track, whilst delivering sounds of calmness and relaxation.
This isn’t music for the Monday morning rush, else you will find it Friday before you get out of the door, rather material to savour at leisure and there is much with which to settle back. The pieces typically run at well over five minutes and with seven releases going back since 2008 you need time to get through the collection and it is a development that is well worth exploring to dip in and out of as moments allow.
Whilst somewhat experimental in style, Nheap hasn’t sought to rip the edges of the creative envelope, rather to bring in disparity of sound making devices, which is what provides the music with its multi-layered textures.
Flying and the Silence – Nheap is available on iTunes*.
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